John Butcher 70th Birthday Residency at Cafe OTO

Groundbreaking saxophonist John Butcher is a frequent visitor to north London's Cafe OTO, so it is fitting that the venue provided the setting for a celebration of his milestone birthday. For the occasion he handpicked selection of his most potent collaborators to join him over the three nights in various small group formations.

Butcher has developed a unique style that melds a staggeringly detailed command of multiphonics, timbre and overblowing with an overarching sense of musicality. But even within this refined palette there are boundless possibilities such that he was able to avoid repeating himself, succeeding in presenting slightly different facets of his artistry in each set, while remaining unmistakably himself.

The opening night offered a pair of duets, first with French pianist Sophie Agnel, then with experimental harpist Rhodri Davies. Neither approached their instruments from the normal standpoint, something that was true for almost every performer. But what was also true was that, making use of extensive preparations, they each achieved a remarkable dialogue with the saxophonist, Agnel perhaps more synergetic, Davies more provocative.

On the second night, Butcher began with a stunning solo set built with an almost palpable sense of inner logic, one idea seemingly leading on inevitably to the next. By happy coincidence, American percussionist Gino Robair, whose association with Butcher stretches back over 25 years, was in town and able to participate in the second set. He brought a whiff of theatricality to his percussive process, using every part of the kit, not to mention the surrounding area, including the floor.

As he did at times with Davies the previous evening, Butcher held his own against some of Robair's electronic gizmos by manipulating feedback alongside his acoustic output. Agnel returned for the final part of the evening together with drummer Mark Sanders and violinist Angharad Davies for a set of supremely sensitive and taut interaction.

In keeping with his adventurous spirit, the last night featured a first time encounter with the astonishing vocalist and clarinetist Isabelle Duthoit , who played both in duet with the reedman and as part of a quartet completed by the piano and electronics of Pat Thomas and Norwegian percussionist Ståle Liavik Solberg in the last set, another exhibition of deep listening and tension-building drama.

Clearly a subscriber to the Phil Minton school of vocal gymnastics, she issued all manner of strange and unlikely noises, with the accompaniment of serene hand gestures and facial expressions evoking a Bill Viola video tableau. With Thomas solely on electronics, the trio with Butcher and Solberg, who operate under the heading Fictional Souvenirs, was another highlight, fashioning captivating narratives from an unlikely confluence of beeps, shimmers, rattles, blurts and clacks.

The three days will live long in the memory of those who were lucky enough to be there.

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